Literati Painting: Reflections Across Discontinuities

2011 ◽  
pp. 59-70
Keyword(s):  
Literati Painting

Aesthetic Consciousness of Literati Painting and its Application in Urban Planning

2019 ◽  
Vol 44 (3) ◽  
pp. 92-95
Author(s):  
Hua Wei
Keyword(s):  
Development Process ◽  
Landscape Design ◽  
Chinese Painting ◽  
Landscape Model ◽  
Natural Landscape ◽  
Literati Painting ◽  
Artistic Conception ◽  
Residential Landscape ◽  
Aesthetic Consciousness ◽  
Classical Philosophy

In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.

Yorozu, Tetsugorô [萬 鉄五郎] (1885–1927)

2018 ◽  
Author(s):  
Eve Loh Kazuhara
Keyword(s):  
Fine Arts ◽  
Cultural Property ◽  
Literati Painting ◽  
Avant Garde ◽  
White Horse ◽  
Critical Attention ◽  
The Government

Yorozu Tetsugorô was a Yôga [Western-style] painter associated with the avant-garde movement during the Taishô period (1912–1926). His foray into art began when he started studying Ôshita Tôjirô’s A Guide to Watercolors [大下藤次郎]. Prior to enrolling at the Tokyo School of Fine Arts in Western-style painting, he attended meetings and study sessions at the Hakubakai [White Horse Society; 白馬会] (1896–1911). In 1907, he entered the Tokyo School of Fine Arts and graduated in 1912. A Nude Beauty (1912), his graduating work, garnered significant critical attention. The work is considered the pioneering work of Japanese Fauvism, and is now designated an Important Cultural Property in Japan. Yorozu’s works from this period demonstrate the influence of both Fauvism and Cubism upon his craft. His landscapes and portraits were well received at the Nikakai [Second Section Association] (1914–present), which showcased younger and more avant-garde artists’ works. Yorozu left Tokyo following complications with his health, but continued to exhibit at the Nikaten when possible. Although he was unsuccessful at his attempts to exhibit at the government-sponsored Teiten, Yorozu continued artistic explorations in Nanga [literati painting] and Nihonga [Japanese-style painting]. He passed away in 1927, and is often considered the pioneering artist of Japanese Cubism and Fauvism.

Japanese Literati Painting and Calligraphy

Art History ◽  
2021 ◽  
Author(s):  
Patricia J. Graham ◽  
Frank L. Chance
Keyword(s):  
Chinese Culture ◽  
Early 20Th Century ◽  
Chinese Poetry ◽  
The West ◽  
Literati Painting ◽  
School Professionals ◽  
Western Art ◽  
Wide Range ◽  
The Status ◽  
The Subject

Literati painting in Japan is generally referred to as Bunjinga (literati painting; Ch. Wen ren hua) or Nanga (Southern School painting; Ch. nan zong hua), both terms borrowed from China. Wen ren hua refers to the status of artists who belonged to the scholar-gentleman class. Nan zong hua was coined by the Chinese painter and theorist Dong Qichang (b. 1555–d. 1636), who used it to describe art by literati, ostensibly amateurs, whose paintings were indebted to their mastery of calligraphy, expressed their inner feelings, and sought to capture the spiritual essence of their subjects. He deemed Nan zong hua superior to that of another so-called “school” of painters he invented, the “northern school,” professionals whose work he declared to be superficial and decorative. In relation to Japanese literati painters, however, this distinction between the southern and northern schools is largely irrelevant. The diverse and very large group of artists defined as literati painters were variously amateurs and professionals who worked in styles inspired by a wide range of Chinese pictorial approaches, which the Japanese learned from imported woodblock-printed painting books, actual paintings, and Chinese and Korean artists and calligraphers who visited or emigrated to Japan, including professional painters, Confucian scholars, and Chan (Zen) Buddhist monks. Some Japanese literati painters were samurai, others commoners. Their commonality is a dedication to and deep knowledge of Sinophile literati culture—particularly Chinese poetry—and their use of Chinese literati painting subjects, especially ink landscapes and themes, such as bamboo, in response to the market demands of Japanese consumers fascinated by Chinese culture. Many also brushed polished and colorful bird-and-flower paintings modeled after the work of Chinese professional painters, and their art was also impacted by native styles then in vogue and by naturalistic rendering drawn from exposure to imported Western art. Some literati artists earned their living as Confucian scholars or writers and painted as an avocation; others worked as professional painters, presiding over independent ateliers with legions of disciples. Although the literati painting movement began in the Kyoto region, it was quickly embraced by artists throughout the country who often traveled and shared ideas. The first writings on the subject date to the early 20th century, but the heyday of scholarship occurred in the 1970s and 1980s, and resulted, in the West, in a large number of dissertations, with the majority dating from the late 1970s through early 1990s. Those that were subsequently revised as published monographs have been omitted from this bibliography.

Vernacular Painting and Transitional Beijing

2021 ◽  
Vol 71 (2) ◽  
pp. 191-218
Keyword(s):  
Direct Observation ◽  
Visual Language ◽  
Modern China ◽  
Visual Effects ◽  
Literati Painting ◽  
Technical Innovations ◽  
Visual Record

Abstract Created around 1915, Chen Shizeng's Beijing Fengsu album represents a pictorial experiment that led to his subsequent well-known theoretical recasting of Chinese literati painting as a progressive and universally comprehensible visual language. Through an examination of the stylistic and technical innovations of the paintings, the essay demonstrates that the album's function as a visual record of Beijing folk customs is in part a historical byproduct of a then urgent attempt to establish the pictorial expression of a new subjectivity by a leading member of China's last generation of literati. Through the aid of drawing from direct observation, emulation of visual effects from Western-style drawing using Chinese ink and pigments, incorporation of antiquarian motifs, and unconventional compositional schemes, the album managed to reinvent vernacular painting (fengsu hua) and establish the popular pictorial genre manhua in modern China.

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